‘Last Christmas’ spreads some superficial Christmas cheer

Paul Feig’s Last Christmas markets itself as ‘the Christmas film of the decade’, which is a decidedly bold claim until you actually sit down and think about Christmas films produced in the 2010s. Not Elf, Polar Express, nor even my own personal favourite, Christmas Vacation (actually, that’s unsurprising, the hairstyles alone scream 80s). In fact, the only festive film of merit I can recall in the past ten years is Arthur Christmas. I contemplated this as I sat in the darkened theatre and readied myself to stack the new Emma Thompson/Paul Feig offering against its competition. Of one film. One animated, children’s film. They’re not exactly reaching for the stars.

We meet the protagonist Kate, Katarina by birth, as a choir girl in the former-Yugoslavia, giving a moving rendition of George Michael’s “Heal the Pain” to a packed Church. Oh yes, if you hadn’t already understood from the title, the film is set to the soundtrack of his greatest hits, which are, obviously, joyous. Two decades on, the family have escaped to the UK and our lead, now working as an elf in a slightly creepy Christmas shop in Covent Garden, is in the midst of an epic quarter-life crisis. She is drinking too much, looking for love in the wrong places and alienating friends and family with her thoughtless, selfish behaviour. Whilst initially presented as simply a failure to ‘adult’, it is later revealed that Kate has recently recovered from a heart transplant, not something many other ill-adjusted twenty-somethings can relate to.

If you hadn’t already understood from the title, the film is set to the soundtrack of George Michael’s greatest hits, which are, obviously, joyous

Just as Kate’s downward spiral threatens to take her under, enter stage right her knight in shining armour, in the form of Crazy Rich Asians’ Henry Golding. Happily, Golding’s Tom is more interested in understanding Kate than sleeping with her, and is certainly a Prince Charming for the modern day. He supports her, without mansplaining her problems or promising that he can save her and wants her to learn to love herself, see life in all its magical splendour and, ultimately, focus more on others than her own problems. He seems, at the outset, a little strange but as the film builds to its dramatic climax, it comes to light that he is actually just a thoroughly lovely guy. From his refreshing refusal to use a mobile phone, to his role volunteering at a homeless shelter, and his altogether sweet and chaste attitude towards our heroine, he demonstrates the kind of selfless love so rarely seen on the big screen.

This film is definitely a game of two halves; the first plods along largely inconsequentially, exploring Kate and Tom’s relationship, without giving the audience a reason to truly invest in it. It feels like co-writers Emma Thompson and Bryony Kimmings were so pleased with the ending’s plot twist that they left the first half of the film to fend for itself. In the second half, however, as the plot builds, there are certain moments which really sparkle; for example, Kate’s ultimate acceptance of and pride in her Yugoslavian heritage.

Happily, Golding’s Tom is more interested in understanding Kate than sleeping with her, and is certainly a Prince Charming for the modern day

On this point, the film is surprisingly moving in its depiction of the immigrant experience and the ways in which a feeling of alienation lingers even in those who have lived in a foreign country for years. Emma Thompson’s portrayal of Kate’s neurotic, domineering mother is skilful, with just enough substance to keep her from becoming a caricature, and her Eastern European accent didn’t bother me as much as I assumed it might.

The film is not subtle with other references to political and social debates, from Brexit to homophobia, which seem quite contrived; the messages are valid, yet instead of allowing them to speak for themselves, Thompson and Kimmings manage to render them somewhat cringe-worthy. The film’s lack of subtlety is one of its biggest downfalls, along with the implausibility of the ‘twist’, and don’t get me started on Michelle Yeoh’s romantic subplot. Cameos by Rob Delaney and Sue Perkins add nothing to the film’s comedic value due to their extremely limited screen time, making their involvement largely superfluous.

Yet somehow, amidst the lack of subtlety and a sweet, but largely unconvincing denouement, there is some Christmas cheer to be gained from watching this film

Does Last Christmas live up to its strap-line? Yes and no. Without its attachment to Christmas, this film would undoubtedly be a failure; its festive setting definitely lifts the story and is used liberally to cover over some rather gaping plot holes. Yet somehow, amidst the lack of subtlety and a sweet, but largely unconvincing denouement, there is some Christmas cheer to be gained from watching this film. George Michael’s songs are a poignant and jubilant celebration of life in all its glory, though arguably too deep for what, in essence, is quite a superficial plot. In the end, Last Christmas’ message is simple: help others in order to help yourself. Especially at Christmas, what a great moral to share.